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Ilia Zdanevich, 1894-1975) Université de Montréal The architectural nature of the illustrated books of Iliazd (Ilia Zdanevich, 1894-1975) by David Sume Département d’histoire de l’art et d’études cinématographiques Faculté des arts et des sciences Thèse présentée en vue de l’obtention du grade de Docteur (Ph.D.) en Histoire de l’art Décembre 2018 © David Sume, 2018 Résumé Cette thèse propose l’application de la conception de la promenade architecturale à une sélection de quatre livres qui ont été conçus et produits par Iliazd (Ilia Zdanevitch, 1894-1975, né à Tiflis, en la Géorgie). Les quatre livres sont Pismo (1948), Poésie de mots inconnus (1949), Chevaux de minuit (1956), et Le Courtisan grotesque (1974). Toutes les éditions d’Iliazd avaient des structures soigneusement conçues et aussi des intégrations de textes imprimés et d’éléments gravés, au contraire des designs génériques de ses contemporains, mais chacun de ces quatre livres présentent aussi des variations successives de pliages atypiques. Les structures expérimentales de ces livres demandent considération comme des constructions architecturales, qui a été reconnue par les spécialistes. Les architectoniques complexes des livres exigent un vocabulaire critique du genre suggéré par la promenade architecturale de Le Corbusier, qui a été proposée comme la base pour les structures de ses bâtiments. En effet, la promenade architecturale affirme une chaîne d’événements qui dirige l’explorateur de ses édifices aux pointes de perspective successives, lesquelles présentent des vues internes et externes pendant l’ascension de l’entrée jusqu’au toit. Flora Samuel a écrit une monographie (The Elements of Le Corbusier’s Architectural Promenade, 2010), dans laquelle elle propose cinq étapes pour la promenade. Des modifications de ses étapes sont utilisées par cette étude, altérées pour la transition d’un bâtiment à un livre. Ces étapes, dont certaines sont descriptives et certaines analytiques, tant qu’elles soient présentées comme l’expérience probable d’un spectateur général, sont basées sur ma connaissance personnelle de tous les détails des structures de ces livres. Ces structures complexes, même fascinantes, ne sont pas le but, mais plutôt le soutien habilitant d’une expérience esthétique individuelle. Cette étude affirme que la promenade architecturale illumine l’expérience de la conception unique d’Iliazd du livre illustré, permettant une appréciation sans précédent de leur complexité. Mots-clés : Iliazd (Ilia Zdanevich), 1884-1975; promenade architecturale; Le Corbusier (Charles-Édouard Jeanneret), 1887-1965; Samuel, Flora; Pismo (1948); Poésie de mots inconnus (1949); Chevaux de minuit (1956); Le Courtisan grotesque (1974); édition illustrée de luxe; livre d’artiste i Abstract This dissertation proposes the application of Le Corbusier’s conception of the architectural promenade to a selection of four distinctive illustrated books conceived and produced by Iliazd (Ilia Zdanevich, 1894-1975, born Tiflis, Georgia). The four books examined in this study are Pismo (1948), Poésie de mots inconnus (1949), Chevaux de minuit (1956), and Le Courtisan grotesque (1974). While all of Iliazd’s editions featured carefully conceived structures and integrations of typeset texts and engraved elements, as opposed to the largely generic designs of his contemporaries, each of these four books in particular presents successive variations of atypical page foldings. The experimental structures of these books allow for their justifiable designation as architectural constructions, as scholars have previously recognized. The complex architectonics of the books demands a critical vocabulary of the kind Le Corbusier’s architectural promenade, which has been broadly proposed as the basis for the structures of his buildings, provides. The architectural promenade in effect asserts a chain of elements which guide the explorer of Le Corbusier’s buildings to successive perspective points, which present views of internal and external spaces during an ascent from entry level to rooftop. Flora Samuel wrote a monograph (The Elements of Le Corbusier’s Architectural Promenade, 2010) in which she proposed five stages for the promenade. Modifications of her stages are used for the present study, altered for the transition from building to book. These stages, some of which are descriptive and some analytical, while presented as the likely experience of a general viewer, are based on my individual understanding of all the details of the structures of these books. The complex structures, while fascinating, are not an end in themselves, but rather the enabling support of an individual aesthetic experience. This study asserts that the architectural promenade illuminates the experience of Iliazd’s unique conception of the illustrated book, enabling a hitherto unparalleled appreciation of their complexity. Keywords : Iliazd (Ilia Zdanevich), 1884-1975; architectural promenade; Le Corbusier (Charles-Édouard Jeanneret), 1887-1965; Samuel, Flora; Pismo (1948); Poésie de mots inconnus (1949); Chevaux de minuit (1956); Le Courtisan grotesque (1974); illustrated deluxe edition; livre d’artiste ii Table of Contents Introduction ............................................................................................................... p. [1] I.1. Iliazd and his books ....................................................................... p. [1] I.2. Avant-garde milieu, Georgia & Russia, 1917-1921 .......................... p. 2 I.3. Exploration of historic church architecture ....................................... p. 3 I.4. Self-reinvention in Paris .................................................................... p. 5 I.5. Iliazd and the French deluxe illustrated edition, 1900-1975 ............. p. 8 I.6. Iliazd’s innovative conception of the illustrated book ..................... p. 15 I.7. The current relevance of Iliazd’s books .......................................... p. 18 1.8. Iliazd and the future of the book ..................................................... p. 19 . I.9. Framing this study ........................................................................... p. 21 1. Laying the Foundations: histories and interpretations of Iliazd’s books .................. p. [24] 1.1. Introduction .................................................................................. p. [24] 1.2.Texts ................................................................................................. p. 25 1.3. Descriptive bibliographies .............................................................. p. 40 1.4. Schematic diagrams ........................................................................ p. 42 1.5. The role of previous scholarship ..................................................... p. 43 2. Constructing the Corpus : methods and approaches ................................................. p. [46] 2.1. Corpus selection and justification ................................................ p. [46] 2.2. Theoretical approach ....................................................................... p. 60 2.3. Methodology ................................................................................... p. 73 3. Reading Iliazd I: structural analyses ......................................................................... p. [76] 3.1. Pismo ............................................................................................ p. [76] 3.2. Poésie de mots inconnus ................................................................. p. 89 3.3. Chevaux de minuit ......................................................................... p. 100 3.4 Le Courtisan grotesque .................................................................. p. 108 iii 4. Reading Iliazd II : comparative analyses with the promenade ............................... p. [116] 4.1. Enclosures .................................................................................. p. [116] 4.2. Auxiliaries ..................................................................................... p. 133 4.3. Core ............................................................................................... p. 146 4.4. Complications ............................................................................... p. 164 4.5. Interactions .................................................................................... p. 182 Conclusions .............................................................................................................. p. 193 Bibliography ........................................................................................................... p. [198] Appendix 1: Glossary of terms describing Iliazd’s books ...................................................... i Appendix 2: Adrien de Monluc and Iliazd ............................................................................ v Appendix 3: Architecture and Modern art ............................................................................ vi Appendix 4: Le Corbusier and the book ............................................................................. viii iv List of Tables Table I.1. Iliazd’s deluxe illustrated editions ........................................................... p. 7 Table I.2. Vollard’s deluxe illustrated editions ....................................................... p. 9 Table I.3A. Kahnweiler’s deluxe illustrated editions ................................................ p. 10 Table I.3B. Kahnweiler’s deluxe illustrated editions ..............................................
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